REVIEW: CARMEN

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Posted: November 9, 2008 - 1:00 am

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By Mike Dunham

The first thing that grabs the listener's attention in Anchorage Opera's production of "Carmen" is the pulse of Sara Jobin's conducting. She favors tight, fast tempos, which work well in the introductions to the first and last acts but tend to bulldoze through the gentler music, as in the introduction to Act 3. It's an unsentimental approach, even in the traditional sweet spots, "La fleur que tu m'avais jette" and Micaela's Act 3 aria.

Kathryn Allyn's take on the title role is, perhaps accordingly, more arid than passionate. She sings easily and convincingly, yet keeps her distance from anyone or anything that might claim her love or limit her freedom. Her "Habanera" was not so much winged flirtation as a hard meditation on the question: What's love got to do with it?

Christopher Jackson's Don Jose is young and callow. He didn't quite convince me that he had it in him to kill, but his upper range, especially, offered delightful listening.

The best performance came from Anton Belov as Escamillo. With a strong voice and instinctual command of a scene that is both graceful and forceful, he raised the energy level whenever he was onstage.

The experience of Jaunelle Celaire showed in her portrayal of Micaela, with a firm and clear characterization, different from the simple country maid of most productions, but no less valid.

Local favorites Anastasia Jamieson, Marlene Bateman, John Fraser and Andrew Sweeney presented the parts of Carmen's friends and conspirators with liveliness and musical accuracy, Fraser being a particular standout as Dancairo. Other Anchorage singers - Christopher More and Kyle Gantz - ably handled the parts of soldiers Morales and Zuniga.

Francesca Callow's solid and realistic sets worked effectively to ground the drama. Director Cynthia Edwards' decision to move the time of the action to the Spanish Civil War was a logical step, reflected in details like the occasional fascist salute and a poster of Franco's cool, self-assured visage. Carmen's Act 1 escape was accompanied by insurrectionist gunfire, leaving one soldier dead as the curtain dropped; Zuniga's fate appeared to be certain execution at the hands of Loyalist partisans. Oddly though, the events that so ripped the world apart 70 years ago felt quaint and softened in the fog of history.

Blocking often appeared stiff and inconsistent. But the musicality was mostly of a high order. The adult and children's choruses were agile and full-voiced. The orchestra - particularly the brass - did very well, though weariness could be detected by the final act.

The Saturday-night opening was sold out. Additional performances will take place Wednesday, Friday and Sunday, Nov. 12, 14, and 16. The performance runs about three hours with two intermissions.

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